When Dean Devlin established Electric Entertainment in 2000, he anticipated it would be a continuation of his previous endeavors in producing high-budget sci-fi adventure films such as “Stargate” (1994) and “Independence Day” (1996). However, he quickly realized that operating without a prominent figure like Roland Emmerich, his longtime collaborator at Centropolis Entertainment, would present unique challenges. “I didn’t expect that at all,” Devlin admitted.
Things took a positive turn in 2004 when he enlisted a new agent, Brian Pike, who was then with CAA. Pike proposed a meeting with Michael Wright, the new senior VP of programming at TNT, who aimed to create a cable channel identity within what he termed the “smart popcorn space” focusing on engaging and light-hearted content.
“Michael expressed interest in a film at TNT that was reminiscent of Dean Devlin’s style,” recalled Devlin. However, he was uncertain how the financing would pan out since his films generally carried budgets exceeding $100 million. But Wright offered him something different—control over the project.
Devlin recounted, “My eyes widened when he explained their financing model: they would pay a licensing fee, but I would fund the remainder and hold the worldwide rights, and gain back domestic rights in four years—and own it outright. It was a concept I had never considered before, and it thrilled me.”
At the right moment, Devlin had an appropriate script ready, namely “The Librarian: Quest for the Spear,” authored by David N. Titcher. This action-adventure comedy follows Flynn Carsen, a perpetual graduate student, as he embarks on an adventurous journey after taking on the role of the protector of a secret repository filled with supernatural historical artifacts, including the Holy Grail and Pandora’s Box.
“I was instantly hooked when he began pitching it,” said Wright, now head of MGM+. “It was excellently written and incredibly fun to watch.”
For the lead role, Wright proposed Noah Wyle, who was primarily known for his dramatic role as Dr. John Carter on the long-running NBC show “ER.”
“I thought, there’s no way a great actor would let me down, but I had no clue if he could handle comedy,” Devlin reflected. “When Noah arrived on set, he totally exceeded my expectations. He not only possessed exceptional comedic timing but also showed an extensive understanding of comedy history. His approach to scenes was remarkably insightful, making it obvious that he wasn’t just an actor, but a creative ally.”
The collaboration between Electric and Wyle would flourish, resulting in two additional TV films and the series “The Librarians,” which Wyle executive produced and reprised his Flynn role in 10 episodes over four seasons (2014–2018), including directing two episodes.
The “Librarian” franchise not only helped Electric carve out its niche beyond the Emmerich/Centropolis shadow, but it also established a new operational strategy that has proven beneficial. Devlin indicated that, with few exceptions like the 2016 sequel “Independence Day: Resurgence” and his directorial venture “Geostorm” (2017), every subsequent project has been owned by Electric. This includes the full slate of seven television series, ranging from the crime drama “Almost Paradise” to the SyFy productions like “The Outpost” (2018-2021) and “The Ark,” which is set to premiere its third season in 2026.
Aleksandar Letic/Ark TV Holdings, Inc./SYFY
Val Boreland, the president of NBCUniversal’s Versant division, remarked on Devlin’s deep involvement with his projects. “He’s not distant; he’s engaged. I greatly appreciate his willingness to collaborate and adapt.”
Devlin faced a significant challenge in navigating the aftermath of the 2008 financial crisis, which hampered a major deal he was pursuing just as TNT was about to renew their second series, “Leverage,” featuring Timothy Hutton. He opted to pursue deficit financing for the series independently.
“Everyone I know declared it insane, warning that this could lead to financial ruin,” noted Devlin. “And they had a point. It was undoubtedly a huge risk.”
Another vital aspect of Electric’s autonomy is its expansive 20,000-square-foot headquarters in West Hollywood, which it has occupied since 2016, previously home to Elektra Records. Beyond housing executive leadership and marketing teams, the space also features editing and color correction suites, a mixing stage, a writers’ room, a podcast studio, and a vault for their masters, including a basement echo chamber left over from Elektra’s recording studio.
In 2022, Electric gained further control over its future when it utilized its content library to secure a $100 million credit facility from Bank of America.
“This meant we no longer needed every component of a project finalized before moving forward, allowing us to fill in certain gaps later on,” Devlin explained.
It also afforded him the leeway to follow his instincts.
“When Dean is passionate about a project, we back it, which simplifies our process. We don’t have to present everything to executive boards,” noted Electric founding partner Rachel Olschan-Wilson. “For instance, I have a keen interest in horror and thrillers, and I was shocked when Dean agreed to helm a thriller like ‘Bad Samaritan,’ but he loved the script.”
Olschan-Wilson first joined Devlin as an assistant in 1997, while fellow founding partner Marc Roskin’s journey began even earlier when he served as a set P.A. on “Stargate.” Currently, Roskin directs episodes of Electric shows like “Leverage: Redemption” and “The Librarians: The Next Chapter,” which he also executive produces, in addition to directing various non-Electric projects, such as “Chicago P.D.”
“Working on different shows helps me gauge various methods and discover improvements we can make,” explained Roskin. Additionally, “I’ve introduced Dean to some writers and technicians I’ve come across during my external directing roles, enriching our team.”
Devlin has also been supportive of directors from outside the company, including Jonathan Frakes from “Star Trek: The Next Generation,” who credits Devlin for not only reviving his directing career post-“Thunderbirds” but also for guiding him on how to bet effectively during downtime while filming the third “Librarian” movie in New Orleans.
“Devlin has been a beacon for me,” proclaimed Frakes, likening learning to play craps with him to the unpredictable nature of the business.
Despite his extensive experience and numerous blockbuster feats, Devlin constantly seeks knowledge from others.
“This year, he shared how collaborating with ‘Leverage’ creator John Rogers reshaped his storytelling approach. In addition to a synopsis, he now includes what he calls a ‘heart line,’ focusing on the emotional core of a narrative,” revealed longtime TNT and Warner Bros. Discovery executive Sam Linsky.
Devlin’s recent projects showcase a pronounced emphasis on emotional narratives, with titles like the recently released comedy-drama “One Happy Family,” featuring his wife, Lisa Brenner, portrayed as a woman whose life alters dramatically when DNA tests reveal her father is not her biological parent, and “The Poly Couple,” a new half-hour series centered on a polyamorous relationship.
Devlin also recognized the surprising emotional resonance of the escapist entertainment he produces during ElectricCon’s first event in New Orleans, where attendees shared how shows like “The Ark” provided solace during tough times such as chemotherapy or dealing with personal losses through programs like “Leverage.”
“I enjoy making hot dogs; it’s a passion,” reflects Devlin. “Yet, events like that remind you how vital escapism is to many. It’s a significant aspect of their lives.”
